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sale of athe. “Winkler 


' rt that his tastes 
r loly inderstood and sympathized 
He has maintained for years a 


or less fashionable to like 
of Arthur B, Davies, Childe 
Inness, J. Francis Mur- 
Ryder and J. H. Twacht- 
. Montross admires these 


ut. 
2 and in 
1 When it required courage to do so. 
1 of them figure in the present sale, 
h them are associated some new 
such as’ John Marin, Maurice | 
rast, George Luks. Max Kuehne, 
George Bellows, Bryson Burroughs and 
_ Preston Dickinson, that show that Mr. 
Montross’s initiative is stil] unfailing, for. 
“all of these are not yet appreciated at 
ae true value by collectors. ’ 


associated so 


one xe their cause.’ Tt is 


cs _-Telatiot ship with is ake 


| 


vested in their work at a. 


j 


: ‘There. are - 


| and vastness and poetry of the ocean. 
/sseem to be fixed within the narrow 


tage, 
a journey who are sketchily indicated, ‘but | 
By John La Farge there is a figure of a. 


study for one 
Tels ena by” Abbott Thayer there ‘is a! 


has’ for 


| markable private library,. 
' prises his famous collection of sporting 


r oc 
place. in the henna ‘affec 
ar is admirers are legion. The ‘press 
ent example, as it happens, is a g 
some small boats roc 
upon, a mysterious sea, and all the ter. 


limits of the small canvas. It is an ex 
_ ceedingly fine eter pentehy is. ie 
Ywuch,; 472 

WwW. M. Hunt. is’ ayoeker” ae the’ old 
timers who appears but infrequently in 
the auctions, -and this time to advan-— 
His “Old Mexico” shows some | 
men upon horseback setting out upon a 


“in a way to speak to the imagination. | 


young woman . 4 ‘prayer, doubtless ‘a | 
of his big religious" mu- 


characteristic head, ePhe ‘Winslow 
Homer of the collection. is unusual. It. 
shows a New England. schoolhouse of. 
the most austere and primitive type but | 
with ‘all the searching peneety upon | 
which this artist built his fame. 
The John Marin water colors repre- | 
sent a peculiar test, since this artist’s 
style is the subject, OF. continual debate 
in the studios. : aI ; 


Make. Peonliar Appeal, 

If the Montross pictures make a 
peculiar appeal, so do the art objects} 
of Thomas W. Lawson. Mr. Lawson 
years been,a vivid figure in| 
Ameriéan life, and everything he did} 
-gwakened the public interest. He was, 
among other things, a . magnificent. 
spender, a thing the populace always ap- 
proves of, and there will be consequently 
a general regret at the hint ot ptchimden 
ment that this sale implies. : 
Mr, Lawson, it appears, was fond of 
bronzes and they provide the dominant 
note of his collection. There are also | 
paintings, including some by Mancini 
and Gerome; ivory carvings, .and his re- 
which ecom- 


and equestrian literature with sump- 
tuous bindings. © * 

The gathering of carved elephants, of 
which ” in bronze, ivory and porcelain | 
there are over one hundred, is remark- 
‘able. Mr. Lawson doubtless held to the 
widely shared faith in the elephant as 
a dispenser of luck, and his troop in- 
eludes seme of great size and beauty. 
By Solon Borglum there are some 
episodes of life on the plains in bronze, 
including the ‘‘Wind Storm,” of especial 
merit, 

The Carl Winkler collection is headed | 
by some remarkable textiles. The early ’ 
Flemish pastoral hangings and _ also | 
those after designs. by Teniers are de- 
lightful examples of the weaver’s art, 
but probably the feature of the series is 
the splendid Franco-Flemish tapestry 
which was woven about 1500.. Tt is an 
allegorical composition, with legends ip 
Latin. 


mtd 


CN sie ue C VEE W 
FROM 9 A. M. UNTIL 6 P. M. 


feet AMERICAN ART GALLERIES 


BLOCK OF MADISON AVENUE, 56TH TO 57TH STREET, NEW YORK 
ENTRANCE, 30 EAST 571TH STREET 


BEGINNING SATURDAY, FEBRUARY 3rp, 1923 
AND CONTINUING UNTIL THE DAY OF THE SALE, INCLUSIVE 


AN IMPORTANT COLLECTION 
OF 


PviERICAN PAINTINGS 


OBE SOLD AT UNRESTRICTED PUBLIC SALE 


meee AMERICAN ART GALLERIES 
ON THE 
EVENING OF THURSDAY, FEBRUARY 81x 


BEGINNING AT 8.30 O?>CLOCK 


ILLUSTRATED CATALOGUE 


OF 


AN IMPORTANT COLLECTION OF 


AMERICAN PAINTINGS 


INCLUDING FINE EXAMPLES 
OF 


_INNESS, WYANT, MURPHY, DAVIES, DEWING, RYDER, HASSAM, LA 
_ FARGE, LUKS, THAYER, TRYON, TWACHTMAN, WALKER, WEIR AND 
OTHER EMINENT AMERICAN ARTISTS 


SELECTED BY AND TO BE SOLD BY ORDER OF 
THE WELL-KNOWN CONNOISSEUR 


MR. N. E. MONTROSS 


OF THIS CITY 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 


ON THE EVENING HEREIN STATED 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY 


AND HIS ASSOCIATES, Mr. OTTO BERNET AND MR. Hiram H. ParKE, OF 


THE AMERICAN ART ASSOCIATION,’ MANAGERS 


BLOCK OF MADISON AVENUE, 56TH TO 57TH STREET 
ENTRANCE, 30 EAST 57TH STREET 
NEW YORK 
1923 


are et 


THE AMERICAN A) 
DESIGNS ITS CAT. 
ALL DETAILS OF IL 
TEXT AND TYP¢ 


CONDITIONS OF SALE 


I. Rejection of bids: Any bid which is not commensurate with the value of the 
article offered or which is merely a nominal or fractional advance may be rejected by the 
auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 

Il, The buyer: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

Ill. Identification and part payment by buyer: The name of the buyer of each lot 
shall be given immediately on the sale thereof, and when so required, each buyer shall 
= a card giving the lot number, amount for which sold, and his or her name and 
address. 

Payment at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

f the two foregoing conditions are not complied with, the lot or lots so purchased 
may at the option of the auctioneer be put up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer. 
and thereafter neither the consignor nor the Association is responsible for the loss or 
any damage to any article occasioned by theft, fire, breakage or any other cause. 

V. Delivery of purchases: Delivery of any purchases will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made at the place of sale or at the storage warehouse to which 
purchases may have been removed. 

Deliveries at the American Art Galleries will be made only between the hours of 
9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries 
will be made—between the hours of 9 A. M. and 5 P. M. 

Deliveries at places of sale other than the American Art Galleries will be made 
only during the forenoon following the day of sale unless by special notice or arrange- 
ment to the contrary. 

Deliveries at the storage warehouse to which goods may have been sent will be made 
on any day other than holidays between the hours of 9 and 5. 

Deliveries of any purchases of small articles likely to be lost or mislaid may be 
made ad discretion of the auctioneer during the session of the sale at which they 
were sold. 

VI. Storage in default of prompt payment and calling for goods: Articles not paid 
_ for in full and either not called for by the purchaser or delivered upon his or her order 
by noon of the day following that of the sale will be turned over by the Association to 
some carter to be carried to and stored in some warehouse until the time of the delivery 
therefrom to the purchaser, and the cost of such cartage and storage will be charged 
against the purchaser and the risk of loss or damage occasioned by such removal or 
storage will be upon the purchaser. 

NOTE: The Limited space of the Delivery Rooms of the Association 
makes the above requirements necessary, and it is not alone for the 
benefit of the Association, but also for that of its patrons, whose goods 
Geren ie would have to be so crowded as to be subject to damage 
and loss. 

VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which 
the Association is in no wise engaged, and will not be performed by the Agssociation 
for purchasers. The Association will, however, afford to purchasers every facility for 
employing at current and reasonable rates carriers and packers; doing so, however, 
without any assumption of responsibility on its part for the acts and charges of the 
parties engaged for such service. 

VIII. Guaranty: The Association exercises great care to catalogue every lot cor- 
rectly and endeavors therein and also at the actual time of sale to point out any error, 
defect or imperfection, but guaranty is not made either by the owner or the Association 
of the correctness of the description, genuineness, authenticity or condition of any lot 
and no sale will be set aside on account of any incorrectness, error of cataloguing or 
imperfection not noted or pointed out. Every lot is sold ‘“‘as is’ and without recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may thereafter 
sell the lot as catalogued or make mention of the opinion of such expert, who thereby 
will become responsible for such damage as might result were his opinion without 
foundation. . 

IX. Buying on order: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph or telephone will be faithfully 
attended to without charge or commission. Any purchases so made will be subject to 
the foregoing conditions of sale except that, in the event of a purchase of a lot of one 
or more books by or for a purchaser who has not through himself or his agent been 
present at the exhibition or sale, the Association will permit such lot to be returned within 
ten days from the date of sale and the purchase money will be refunded if the lot 
in any manner differs from its catalogue description. ; : 

Orders for execution by the Association should be written and given with such 
plainness as to leave no room for misunderstanding. Not only should the lot number 
be given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is unknown to the 
Association, a deposit should be sent or references submitted. Shipping directions should 
also be given. ; ‘ 

Priced Catalogues: Priced copies of the catalogue or any session thereof, will be 
furnished by the Association at charges commensurate with the duties involved in copying 
the necessary information from the records of the Association. 


AMERICAN ART ASSOCIATION, 
New American Art Galleries, 
Block of Madison Avenue, 56th to 57th Street, 
Entrance, 30 Hast 57th Street, 
New York City. 


INTELLIGENT APPRAISALS 


FOR 


UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 
} AND 


CATALOGUES OF PRIVATE COLLECTIONS 


APPRAISALS AND CATALOGUES. Together with the increase in 
its exhibition and sales rooms, the American Art Association will expand its 
service of furnishing appraisements, under expert direction, of art and literary 
property, jewelry and all personal effects, in the settlement of estates, for in- — 
heritance tax, insurance and other purposes. It is prepared also to supplement 
this work by making catalogues of the contents of homes or of entire estates, such 
catalogues to be modelled after the finely and intelligently produced catalogues 
of the Association’s own Sales. | 


The Association will furnish at request the names of many-Trust and Insur- 
ance Companies, Executors, Administrators, Trustees, Attorneys and private 
individuals for whom the Association has made appraisements which have not only 
been entirely satisfactory to them, but have been accepted by the United States 
Revenue Department, State Comptroller and others in interest. 


THE AMERICAN ART ASSOCIATION 


AS UES 


NEW AMERICAN ART GALLERIES 
THE BLOCK OF MADISON AVENUE, 56TH To 57rH STREET 


ENTRANCE, 30 EAST 57TH STREET 
NEW YORK CITY 


— 


TALOGUE 


| 
| 


| EVENING SALE 


THURSDAY, FEBRUARY 8, 1923 


; IN THE ASSEMBLY HALL 


OF 
+ THE AMERICAN ART GALLERIES 


ii | | BEGINNING AT 8.30 0O’CLOCK 


Dos - Catalogue Numbers 1 to 71, inclusive 


AMERICAN: 1857— 


MY BRUCE CRANE, N.A. : 


1--HILLS 
2 Ki Height, 10 inches; length, 16 inches 
eal 


_ urs is a nice, bosky place full of weedy growths along a hillside upon 

the summit of which a few corn shocks are seen. The sky is quiet, and 
the canvas is touched in with all the artist’s surety. 

Signed lower left. 


JONAS LIE, A.N.A. ; ta 


AMERICAN: 1880— 


2—-HARBOR IN WINTER 


Height, 16 inches; length, 20 wmches 
OD’ - 


Tue theme here is cold—intense and all-pervading. Snow-roofed 
houses, boats frozen in, tall masts cutting the picture, all are so chosen 
that we feel the cold and are grateful for the wisp of smoke which is 
the only promise of warmth anywhere. Painted with power and truth. 


Signed lower left. 


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MAX KUEHNE 


MERICAN: CONTEMPORARY 


Tuts canvas is full of air. There is a hillside with village, but the 
artist is concerned more with rendering the open light and spaciousness 
of the day 


Signed lower right. 


—— os 


ARTHUR B. DAVIES 
MD a AMERICAN: 1862— 


4_AE 


/pto-r 


Tis little work has a rich message of the woodland, of those days when 
the leaves grow deep and varied in color and the sun touches the hill- 
side with pure gold. 


eight, 12 inches; width, 8 inches 


Signed lower center. 


| 
| 


ELLIOTT DAINGERFIELD, N.A. 
AMERICAN: 1859— 


5—GRAY WOODLAND 


(Water Color) 
Soe Height, 10% inches; width, 6% inches 


: A cLEAR wash drawing of the woodland. ‘The tones are gray and re- 
fined, and the light on the central tree gives life to the subject. 


- Signed lower right. 


| THEODORE ROBINSON, S.A.A. 


4 AmeEpican: 1854—1896 


a 6-—A NORMA 


Height, 18 inches; width, 14 inches 


| / 00.- : 


THERE is a great sloping tree—a willow. A woman walks beneath in 
its shade, sewing. ‘This work is most interesting for the fine quality 
of sunlight secured in a work in monotone. Each touch is of real value. 


Signed lower right. 


RALPH A. BLAKELOCK, N.A. 


AMERICAN: 1847—1919 


KG: 
Height, 51% inches; length, 61% inches 
4/0°7 


A MINIATURE work. A large tree against a warm, glowing sky—the 
usual tepee—and has firm, deep tone. 


CHILDE HASSAM, N.A.. 


AMERICAN: 1859— 


8 SUNS EA uss 


ISLES OF SHOALS 
th, e Height, 51, inches; length, 814 inches 


Bryonp a strip of divinely painted sea—the radiant sky glows and 
changes. Long ribbons of bright cloud hang low, the sun is barely 
seen, and the crescent moon is in the right place. Within the compass 
of a few inches we have a spacious, radiant and beautiful thing. 


Signed lower left. 


ee 


CHARLES MELVILLE DEWEY, N.A. 


AMERICAN: 1849— 


ie ie ie Legdertele 
27 Height, 17 wmches; length, 18 mches 
Gree : 


A rosy light in the sky gives great charm to the greens which are so 
characteristic of this artist. The distance faintly blue, and the trees, 
richer in tone, are distinguishing notes. ‘The general atmosphere of 
the canvas is very lyric. 


Signed lower left. 


CHILDE HASSAM, N.A. 


American: 1859— 


10—-THE RIGGER’S SHOP: PROVINCETOWN 


ef Height, 22 inches; width, 18 inches 
02. - 


Onxy an artist can so unerringly choose the thing which will look well 
in paint. These old piles—the few boats, the shop, with the steps out- 
side, in themselves are nothing—but, touched by the artist’s hand, they 
live for us. But the secret of beauty in this canyas is the green hill on 


which gable and roof make a lovely note of contrast against the blue 


sky. 
Signed lower right. 


HORATIO WALKER, N.A. 


AMERICAN: 1858— 


1lI—A DEWY MORNING 


Height, 21 inches; length, 28 inches 


[BASF - 


No man has ever painted white calves with more certainty and charm, 
and the two which hold the center of this composition are very finely 
done. The black markings of the heads add to the effect, and we can 
all but feel the motion of the ruggedly drawn woman who adjusts the 
bars. Her red cap serves as accent against a delightful sky of calm 
beauty. A picture at once ruggedly real and poetic. 


Signed lower left. 


ALEXANDER SHILLING 


CoNTEMPORARY 


RISING 


f Height, 9 wmches; length, 11 mches 
O.- . 


In this sensitive little work we must look long to see its true beauty. 
Its values are far too delicate to be caught at a glance. There is little 
in the way of form, but we see the slow mists rising, and feel the quiet 
of the hour. The lovely sky catches a faint glow which gives it charm. 


Signed lower left. 


JOHN H. TWACHTMAN 


AMERICAN: 1853—1902 


fh 


183--GREEN {LLSIDE 


ey et; | Height, 124% wmches; length, 17% inches 
Oi. 


V4 


A TENDER, green hillside under a quiet sky, this is all the subject mat-y, 
ter, but it is an example of that period in the artist’s life when he found 
the beauty of delicate greens an all sufficient theme. ‘The values of 
tone are very subtle, the gradations fine. It is an artist’s work. 


Signed lower left. 


A. H. WYANT, N.A. 


I< AMERICAN: | 18386—1892 


14—SHEEP PASTURE 


Height, 14 inches; length, 18 inches 


LFO.- 


‘Tuts is an early work, but the bold, beautiful drawing and firm tone 
proclaim the artist. The sky, with soft silver white clouds, is fine and 
‘keeps its place in the scheme. 


Signed lower right. 


GEORGE INNESS, N.A. 


ae 1825—1894 


a. 
y 
/ 
A a 
ow / 


Nb 
15—A SPRI 


Height, 14 inches; length, 18 wmches 


ROMS) he 


Tuis work of the great master is full of moist greens—evidently the - 
time is just after rain and he has caught the feeling. High up on the 
hillside the light falls upon a farm house giving the chief light of the 
canvas. It is essentially a synthetic study. 


Signed lower right. 


WILLIAM MORRIS HUNT 


AMERICAN: 1824—1879 


16—OLD MEXICO 


Height, 20 inches; length, 27 mches 


Tue general deep tone is unexpected, and the glowing note of light 
on the stuccoed houses almost the only high value—but the artist has 
contrived in the three horsemen and the Spanish chapel against the sky 


to express his theme. 


No signature. 


MAX KUEHNE 


AMERICAN: CONTEMPORARY 


Height, 15 inches; length, 18 inches 


GS — 


Tuts Spanish town provides a theme that is more than a report. ‘The 
artist has seized upon the red house and made it the key of his theme. 
Hillside, Lombardy poplars and the figures aid in presenting the 
picture. : 


Signed lower right. 


DWIGHT W. TRYON, N.A. . 


AMERICAN: 1849— 


Height, 1034 inches; length, 16 inches 


WueEn seen by a true artist, very little is needed to make a delightful. 
work. This old corner of the farm, with the top of a hayrick, a tree or 
two and a barn, are all, but the modeling of the rocky ground, the 
touch of color in the two cows, the quality of the sky, show us the 
beauty an artist sees in simple things. 


Signed lower right. 


PP Om rT 
on 
(‘<< 


CHARLES A. WINTER 


G2 AMERICAN : ConNTEMPORARY 
19— is iN ih 


Aw attractive decorative head. The red bits on the shoulders and the 
headdress add to the decorative feature. A box of ointment is half 


opened in the hands and the leaves in the background are all part of a 
fine scheme of beauty. 


Signed lower left. 


GEORGE BELLOWS, N.A. 


AMERICAN : 1882— 


| bid Uy Looe 


Height, 30 inches; length, 38 inches 


5 -- 


Tus powerful study along the great river is very sane, very direct. It 
is a report and the truth of the report is seen in the verity of the values. 
The sky is really the theme and is painted and drawn with bold sweeps 
of the brush. A few figures work along shore in the foreground. 'The 


light breathing through the clouds is stated with a dash of the brush. 


Signed lower left. 


ee ® 


Se eee 
ee eS Set eg 


ARTHUR B. DAVIES. 


Ge AMERICAN: 1862— 
iar 7 


Height, 1116 inches; length, 224% inches 


2? 7 Cees 


WE see dimly gr¢nt masses of lovely foliage, the drapery of great trees 
rising against *. sky white and blue. It is all misty and dreamy and the 
little figures that move here and there are just musical notes, kindling 


within one’s mind memories of joyous days and happy hours, the song 
of birds and summer gladness. 


Signed lower left. 


MAX KUEHNE 


AMERICAN : ConTEMPORARY 


22 GRANADA 


Height, 26 inches; length, 32 inches 
ae Oo e rail 3 


To a traveler this picture will bring keen memories of this old Spanish 
or Moorish town. ‘The many houses nestling amid trees are beautiful 


in tone, and the cold sky with long strips of white cloud adds to the 
impression. A canvas of fine, blond beauty. . 


Signed lower right. 


PRESTON DICKINSON 


AMERICAN: CONTEMPORARY . . 


Height, 20 inches; length, 24 inches 
Se Liga 


Tuis example of modern art claims attention because of its power. 
The lights and shadows are stated without reserve. A few notes of 
warm color in the houses and a sky in which great plumelike masses of 


cloud intrigue the eye. 
Signed lower right. 


HORATIO WALKER, N.A. 


Height, 17 inches; length, 22 inches 
KS 
ie Ly => 


Tuer gorgeous plumage of these newly shot ducks is painted with the 
joy of one who is both artist and sportsman. ‘The beautiful green 
notes on head and wing, the contrast of the broad field of white in the 
breast of one bird with the russet of feather and foliage are most ef- 
fectively treated. 

Sometimes an artist likes to show how much of a painter he is! 


Signed lower right. 


EE OOO 


GEORGE INNESS, N.A. - 


AMERICAN: 1825—1894 | 


y, Height, 24 inches; length, 26 inches i 


Loe 


Tuts canvas with its fine feeling of the French landscape, its beautiful 
tree forms against a moist, quiet sky, has a delightful color scheme 
and design. ‘The russet field with the little white-capped figure gives 
the touch of contrast which enables us to see the beauty of the whole. 


Signed, and dated 1874. 


“a 


WILLIAM SARTAIN, A.N.A. 


singe ee 1843 


Lo 


te 
B SCHOOL IN ice 


Height, 26 inches; length, 36 inches 


IS r ae 


A pimness beneath those great Eastern arches pervades the scene. The 
groups of red-capped children seem very still before the teacher who 
sits in the shadow. <A stream of light enters at one side, the whole 
making a decorative ensemble. 


Signed lower right. 


CHILDE HASSAM, N.A. 


Bays tee : 1859— 


ILL-LIFE at once unusual and interesting. The vivid greens of the 
winter pears in contrast with the golden browns of the seckles is capti- 
vating—and the table cloth is a study not to be passed over. Nor 
should we miss the note of red in the upper background. 


Signed upper right. 


b RALPH A. BLAKELOCK, N.A. 


g & AMERICAN: 1847—1919 


Height, 12 inches; length, 20 inches 
is 


A most unusual work. There is no mannerism here, but very honest 

observation of adobe huts, with old shawled women—what seems to be 
a great road, and at the right a beautifully painted bit of water. The 
sky has the luminous beauty that only the true artist can reach. 


Signed lower left. 


JOHN MARIN : 


MERICAN: CoNTEMPORARY 


; , | 
29 THE OCEAN: MAINE | ; 


(Water Color) 


TY ae | ‘oie a 


Height, 16 inches; length, 19 inches 


a. 


A BRILIMIANT wash drawing of a wave breaking near the shore. His ; 
depths and brilliancy proclaim the water-colorist. : 


Signed lower left. . 


: 


WINSLOW HOMER, N.A. 


/ AMERICAN: 1836—191 


30—FLS 


U5. 


Tuts drawing on gray paper is the work, obviously, of a great artist. 
In power and dignity it is very fine. Two men at work packing barrels 
of fish, boats near and far—these are the things which have engaged 
the artist’s attention, and he has done them finely, but it is the sky 


which proclaims the master. A superb work. 


Height, 16 inches; length, 24 inches 


Signed lower right. 


MAURICE B. PRENDERGAST 


~ 


tet AN: CONTEMPORARY 


/i-_.aloane a 


(Water Color) 


31—BAS 


PAY gy ee 


Height, 14 inches; length, 20 inches 


Ix this delightful work we see a flock of children, people, rocks and 
boats. Nothing else will quite express this grouping. Each little red — 
parasol note is of value, the reflections in the water between the rocks ‘ 
all have been used to give gaiety to this picture—and we shall miss 
much if we do not see the fine gradations in values. 


Signed lower right center. 


CHILDE HASSAM, N.A. 


VA. AMERICAN: 1859— 


NEAR a green sofa in the center of the canvas a slim young girl has 
laid aside her clothes. Her back is toward us and we study the curves 
of the flesh, the color this artist loves, clear and white, with interest. 
He is always the artist and his accessories rightly balanced. 


Signed left center. - 


HOWARD GARDINER CUSHING, A.N.A. 
AMERICAN: 18369——1916 


JME : Nioeredick 


Height, 40 inches; width, 30 mches 


PAPE, as 


One finds this distinguished painter of portraits very interesting in this 
fine interpretation of the great valley. The blond tone of the canvas, 
finely contrasted with the intense blue-violet of the deep shadow, is most 
effective, and the huge forms seen as through a haze, seem very vast 
and spectacular. 


It is not signed but ts guaranteed. 


(IMustrated) 4 


We 


MAX KUEHNE 


te Ye AMERICAN: CoNTEMPORARY 


HAs 0 xd 


ye Height, 26 inches; length, 32 inches 
y, are 


Wirn an extreme boldness the artist has stated his impressions without 
qualification. The red roofs of houses and tower are red, whether the 
lady moon likes it or no, and we look down upon long, blue-black 
shadows. There is an intense feeling of the moonlight everywhere. 


Signed lower left. 


a * — 4 ‘ H ‘ 


WILLIAM MORRIS HUNT 


AMERICAN: 1824—1879 


AD OF Av 
Height, 24 inches; width, 15 mches 
jeee 
Tuis sterling artist gives us a beautifully painted head—drawn also, 
with finished power. The light falls finely on the front of the face, 


which is seen in profile. The headdress and neckpiece serve to lighten 
the color scheme. Breadth and dignity invest this work. 


No signature. 


MAX KUEHNE 


MIERICAN: CONTEMPORARY r 


36—VIEW OF GRANADA 
FROM THE ALHAMBRA 


dD Height, 32 inches; width, 26 inches 


MotrirupEs upon multitudes of houses, houses gray and red-tiled, 
away and away up the hill until lost in a blond light that absorbs. A 
rendering of the light of Spain which promises a castle even in the 


simplest home. 
Signed lower right. 


HORATIO WALKER, N.A. 


AMERICAN: 1858— 


BV Ge 


BARNYARD COR: 


Height, 18 inckes; length, 24 inches — 


Aves: : 


Here is a perfect idyl, and only animals to help the thought. ‘The 
sleep of these pigs is the thing to wonder at—the complete lassitude. 
However wonderful the painting of the hide and flesh, it is the com- 
plete abandonment to sleep that interests us. So profound is it that 
the horse thrusts his head far over the bar to take his share, and is 
lost in his own dreams. , 
It is a wonderful art which can do such things with means so simple. 
The composition is completed by a bit of distance that breathes of 
air and light. 

Signed lower left. 


CHILDE HASSAM, N.A. 


AMERICAN: 1859— 


388—THE OCTOBER LEDGES: OLD LYME 


Height, 18 inches: length, 18 inches 
tor 
ve 


Tuese old rock ledges are very lovely and when their gray tones are 
seen in contrast with the warm browns of fallen leaves, one loves them 
——as we do the slender trees, autumn-tinted, rising against a faint blue 
sky. 
Signed lower left. 


GEORGE INNESS, N.A. 


a 
AMERICAN: 1825—I1I894 


Height, 30 inches; length, 40 inches ( 


S500. = 


Tue art of this great painter is ever profound. He reaches the heart 
of things. In this picture the fine russet and green tone of the land- 
scape is set off by the superb sky, gray and wet. ‘The business of hay- 
making is hastened, and we feel the energy of it all. Inness never fails 
to see the artistic. His arrangement, his sky line, his balances are all 
in perfect rhythm. The canvas is a great example of the period. 


Signed, and dated 1884. 


CHARLES MELVILLE DEWEY, N.A. 


. ~~ AmeErican: 1849— 
Sy 


Ay Qi 
7ENING 


Height, 141% inches; length, 19% inches 


ot fp. - 
if 


A quiet, tender tone of gray green under a sensitively painted sky in 
which an early moon shows like a “pale lady,” as Shelley says. The 
trees reach up into the sky and help to complete the composition. The 
picture is refined and poetic. 


Signed lower left. 


i 4 


ELLIOTT DAINGERFIELD, N.A. 


AMERICAN: 1859— 


Piz 


y 


41—THE & 


peas Height, 91 inches; length, 181% inches 


LLS 


(Water Color) 


TuHE appeal of this little work is in its quiet. There is expectancy in 
Nature; the notes of mist over the water, the strong notes of field and 
foliage, the very calm sky, make us ready for the coming of the sun. 


Signed lower left center. 


WILLIAM M. CHASE, N.A. 


AMERICAN: 49—1916 


42—) Oi MAES 1k DOROTHY 


Height, 54 inches; width, 36 inches 


Fests 


Tuis altogether delightful work is painted with all the brilliancy of 
the distinguished technician. The character is also felt, and the little 
hooded and cloaked figure is a pure bit of childhood. Evidently we are 
in a corner of the artist’s studio, and the still-life bits are highly inter- 
esting. 


Signed lower left. 


diffuse and harsh Hines of the world, and then, 
nobility of this head—the pleading i in its spiritual 
tirely fine are the hands, perfect in their placem« 
given us a red background and a green drapery, but : 
does it disturb the reticence of prayer. 


ALEXANDER SHILLING 


CONTEMPORARY 
Lro. Hb. Sf 


a Ke IN AUTU 


Height, 9 inches; length, 114% wmches ne 
OD+ = 


Tuer tenderness of this little canvas is almost poignant—there is so 
little of subject matter—a few slender trees, a quiet, dreamy sky, with 
a belated workman in the russet fields; that is all, but the .perfect 
adjustment of every tone and value gives an impression that is de- 
lightful. ‘ 
Signed lower left. 


JOHN H. TWACHTMAN 


AMERICAN: 1853—1 902 


DSCAPE Xe hm 


pd we (Pastel) 
[© s Height, 17 inches; length, 22 inches 


Tue beautiful greens of this work belong solely to this artist and he 
has given them in this group of willows most charmingly. We wander . 
amid the tall grasses, here and there wild carrot grows and blooms, a 
brook comes down to the foreground, and everything takes its place in 
this artistic work. 


No signature. 


+ 


| 


moe Vy YANT, N.A. 


AMERICAN: 1836—1892 


OSS THE HILL 


(Water Color) 


Height, 1114 inches; length, 1514 inches 


S46; 


Turis is a work of finished beauty. Water color art can go no further, 
nor is it necessary that it should. The beautiful modeling of the hill 
with the path leading up and across, the quiet bit of water at the left, 
and all lying under a sky so sensitive in its gray tones—the impression 
is complete. Beautifully poetic as it is, there is a charm in this work 
which speaks of perfection in expression and in technique. 


Signed lower right. 


J. ALDEN WEIR, P.N.A. 


American: 1852—1919 


(A ae. Mechereeg? 
47 — ENCH HOMESTEAD 


4 oe 20 inches; length, 24 inches 


VAs 
THERE is a fine revelation of a French house quiet amid the trees, the 
old well-used road passing near by. ‘The greens of the hillside are finely 
chosen and the blue and white of the sky make up an ensemble of great 
attractiveness. Almost one might be in New England, but the high- 
gabled houses and the Lombardy poplars so artistically placed reveal 
its French origin. 


Signed lower right. 


THOMAS W. DEWING, N.A. 


AmeERIcAN: 1851— 


Mb, GM Tm . 


Height, 274% inches; length, 29 inches 
JS) hii 


Here is a fine example of the work of a man who has unfalteringly 
pursued the path of beautiful art. No vagaries have ever entered into 
his work, and we see in this figure of a young woman nobility not only 
in her appearance but in the purpose of the artist. How fine is the 
poise of the head, how delicately the gradations are wrought. Nothing 
disturbs. It is just a work of pure art. 


Signed lower left. 


DWIGHT W. TRYON, N.A. 


AMERICAN: 1849— 


agp Conat 


Height, 23 inches; length, 33 mches 
See - 


Tus picture is a symphony of spring. Though we do not see the birds, 
we seem to hear their song. The young grass in the field is of that 
peculiar tone that only comes in the springtime. ‘The able and well- 
known touch is in the drawing and painting of the trees, making them 
quite characteristic. ‘The sky has a faint lavender tone which harmo- 
nizes and adds to the tenderness of the scene. 


Signed lower left. 


—oe easel —~—” 


hater 1 Oe ae 
AAR MEL SP. ig beBED I 


CHILDE HASSAM, N.A. 


American: 1859— 


yen 
Aa buh L : 
50—SPRING IN C. FLIVORNTA AT “PASTORIS” 
“UNDER ONE OF THE FOOTHILLS OF 
MT. TAMALPAIS: 1912 
b25-. | 


Height, 32 inches; length, 36 inches 


THe lure of this great hillside of green was very great, and the artist 
chose a moment when the sun was straight in front, so that we see 
haloes about the trees; blue shadows and blossoming trees in the near 
foreground. 

An achievement to weave a spell of beauty. 


Signed lower left. 


Fad 


Tue title is most expressive. “This arn modeled oe : 
The red of the lips provides the highest color note, here 


direct, and hands, coat and background are valk pain 
decision, = 


See = = — —————S See -— _ —- -: = ee = 


and broad, delicate shadows. The pink waist of the gu 


yu 


Tus study is very typical of the artist. He loved fl 


skirt are the cold notes. Tenderness of values i Is a chi 
Mr. Robinson’s. | ae 


HORATIO WALKER, N.A. 


AmeErRIcAN: 1858— 
—) 


yj 
VAP 

J Hib Ate pont 
53—MILK WOMAN E DORLEANS 


= 


ny. Re Height, 28 inches; width, 22 mches 


(Water Color) 


A Most unusual composition is shown in this work, which is painted 
with a breadth and understanding of water color seldom seen. A set of 
steps is in the foreground—up these to a sort of platform a woman has 
gone to arrange her milk cans. Her old-red waist gives the note of 
color. She is strongly drawn and holds herself firmly, and is very 
rugged—a real peasant, concerned in nothing but her work. At a 
little distance is a lovely group of cow and milkmaid, and the land- 
scape, simple as it is, is washed in with charm. The sky is slightly 
clouded. 

Signed lower right. 


_—— © 


WINSLOW HOMER, N.A. 


AMERICAN: 1836—1910 


54_NUW ENGLA ; SCHOOL 


Height, 12 inches; length, 18 inches 


KO Ome. 


Tur observation in this work is wholly delightful. The big bare room 
centered by a blackboard against which stands the teacher, a woman, _ 
whose head makes a really noble bit of portraiture. Very charmingly — 
are the children grouped, and the windows are touched in with a magic 
brush. 

Signed lower right. 


s 


Height, 17 inches; width, 1 
PO gos Oa ; 


Past master of gray as Wyant is, we find a delig 
a sky of glowing tenderness. The composition 
and the lovely lake lying between is as unusu 
this work, but not for an instant does he lose » 
is his gift. There are no slips of adjustment | 


GEORGE INNESS, N. 


Ze | Height, 24 inches; length, 36 
Cus = | 


Aways a weather god, in this picture Inness is 
loved. The great sweep of rolling country under a 
clouds touching the hills, while the fertile valley ie 

Master of ESSE) as on he ee two as Ig 


J. FRANCIS MURPHY, N.A. 


AMERICAN: 1853— 


ey ihe a 
A, GL Jig 
57—4U wand hE 


Josey Height, 8 inches; length, 12 inches 
ee OD. 


SELDOM do we see so exquisite an example of Mr. Murphy’s. There 


are a few trees touched with color, a bit of water in front, and a sky of - 


perfect mastery. Not one note or touch could be added or taken from 


this superb little work. 
Signed and dated, lower left, 1893. 


= 


ar A 


ad 


\ 


moma 


: 


JOHN MARIN 


AMERICAN 
Yj 
58—ROCKS AN SHA ION: MAINE 
(Water Color) 
vx Height, 17 inches; length, 191% inches 


Warm brown washes in the foreground—swaying, undulating wave 
motion and an island in the distance. The artist has searched rather 
for the feel of motion than the fact, and his tones are clear and vig- 


orous. 
Signed lower right. 


Py ag, 


give life to a somber brown ioc Theres is a witehl 
the eyes a out upon us, and a hair is gray ges 


a Signed lower 
4 


ALBERT PINKHAM RY 


aay 18471917 ich 


ff 
f- Ope Oe 


Here is a work of rarest poesy. Others have q 
under the hand of Ryder the sea becomes won 
ships, it carries the hopes and ideals of men, a 
boats rock and float in a rhythmic beauty tha’ 
other artist, and his moonlights charm in a way 


ripe for the ond lo! he shows it aa us Wl 
that is quite his own. A wagon rolls into view and 
sweet-smelling hay—the Se blue and white, i is a 

the very air is a summer’s day Joy. 2 


BRYSON BURROUGHS, A.N.A. 


AMERICAN: CONTEMPORARY 


‘dle 


Height, 20 inches; length, 530 inches 


ke? oe. ei ue — 


Prone across the foreground this white-fleshed figure lies—delicate, 
sensitive, amid the little flowers and fruits—her face is turned away, 
yet there is for us a consciousness of her belief in her own youthful — 
beauty. It is a beauty of line rather than substance—of Florence — 
rather than Venice. The setting of the background with its fleet of 
boats and islands all floating in a summer sea is quaintly delightful, 
and the artist has chosen a pearly tone of great refinement. 


Signed, and dated 1911. 


= 


—— 


THOMAS W. DEWING, 


AmERICAN: 1851— 


et ee 


Jono. Height, 92 inches; width, 20 inches 
Vf Boo. ee “width, 21 ine 


Height, 52 tenes ; width, 21 nch 


Here is a work of art indeed. Beautifully 
with the young woman in most delicately t 
tiful—each girl fits the space splendidly. 


the other pearly, even opalescent. 


ade 


MANE 


fe 


roe 


AG 


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& 


ah bg ; fea Px 


ber h Ph ad str Bute kee 4 ae 


etree Wee & oho. Bae 


Aes 


ARTHUR B. DAVIES 


AMERICAN: 1862— 


Height, 18 inches; length, 30 inches 


/ ; e7. ze 


“Tuas great woodland, with its black and red stemmed trees, would be 
dull but for the gay splendor of light splashing across the center, stop- 
ping for a moment to paint golden red the horse in the center, and to 
draw the shadows in decorative fancy across the fields. ‘The flushed 
sky adds to the color charm, but all would be stale and flat without the 
graceful charm of the slender, wandering figure which holds the fore- 
ground with consummate grace. The great Florentine, Botticelli, as- 
suredly looked over Mr. Davies’ shoulder as he drew it. 


Signed. 


ieee ‘Height, 17 inches; width, 4 


bablyrsundl is akgtchiye hte. the haunting malty 
immutably_ ‘present. ‘ 


DWIGHT W. TRYON, N.A. 


AMERICAN :/1849— 


LE eg / 
fe Gy f YM, 
Aww LAE NOON? AFTER A STORM 


BS ae Height, 20 inches; length, 30 inches 


66 


JO. 


Tuis work is tonal. ‘The stretch of woodland, the rolling country, two 
or three wispy trees against a clouded sky, are all kept within a key 
sober and dun in color. There is light in the picture, a beautiful sug- 
gestion of a distant village, and a peaceful presence that is haunting. 


Signed lower left. | 


“GEORGE INNESS, N.A 


AmeErRIcAN: 1825—1894 


ALWAYS a master of the act of sunset, in this picture rie eet ‘hol 


a 
% 


painted with a reserved yet powerful hand. The composition is typical — 
and impressive. The value and quality of the darks, the lonely tre Ie 
against the light, the breadth of the shadowed foreground, are all finely 
expressive, and the poetry of the distance, with the river all but hidden 
—-these things lead us into the glory of the sky, which is s quietly superb, 


Signed, Guidelated 1880. 


yf 3 


SS eS eS 


- CHILDE HASSAM, 


‘Anenicawerl Oya ae 


S Gaba 


Tur last word in the title is well chosen, for the artist has 
this ragged cliff, notes of ae ee bushes, flow 


Theat. The blues of sea and I sky 4 are finely ie to the line 
the white clouds. i 


dag 


HORATIO WALKER, N.A. 


AMERICAN: 1858— 


IRS 4h OWS SH 


Height, 28 inches; length, 36 inches 


ND SHEEP 


eee ‘ 


the canvas—a man, a dog, a ace wisp of a tree Be Nces the kas —— 
these are the forms the artist uses, but he knows the snow, the cold, ihe 
far, silent reaches which are fast being covered down in the wintry | 
blanket of white. How fine is the dark note of the dog and the bal- 
ancing note in one black sheep! We see the flakes of snow as they fall, i 

and a great silence seems to come over all. Pe 


This chee is a poem of winter and a masterpiece of painting. © 4 = 


Signed lower left. 


ARTHUR B. DAVIES 


ae | American: 1862— 


. Fide ban i 


ae 14 inches; length 28 inches 


bo0.- 


We look upon an Arcadian landscape, rich and deep in color, the 
stems of trees big and bold. The sky is deep gray-blue, with white — 
clouds lipping the horizon—fascinating as a fleet of fairy sails. Here — 
he sits with her upon his knee, reading within the calm surface of the 
book love and joy and life. Such dreaming! Up-stream the incanta- 


tion goes on, while nymphlike, another figure, nude and gracious, steals 
through the woodland. A mystic dream of love and languishment. 


] - 


| J 


Signed lower left. — 


VERE 


THOMAS W. DEWING, NA 


AMERICAN: 18512 ‘F ‘“ 


> Sane - 
ee: ; ae 
¢ 

<) Hy + 


1 
Ba 


Height, 26 inches a length, 34 inches 


In this lovely dream world of Mr. Dewing’s he has led us to 
seat where sits a young woman of exquisite daintiness. Sh 
listening to music. The young woman with the lyre is jus 
just as elusive. The placing of the slender tree is pure ge 


the greens sprinkled over with flowers belong too in the realms 


&k 


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ND THEIR WORKS 


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LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


CATALOGUE 
NUMBER 
BELLOWS, Grorcer, N.A. 
A Cloudy Day 20 
Boy 51 
BLAKELOCK, Rauru A., N.A. 
Sundown 7 
New Mexico Landscape 28 
BURROUGHS, Bryson, A.N.A: 
Venus 62 
CHASE, Wirsiam_M., N.A. 
My Little Daughter Dorothy 42 
CRANK, Bruce, N.A. 
Hillside 1 
CUSHING, Howarp Garpiner, A.N.A. 
The Yosemite 33 
DAINGERFIELD, Exxiott, N.A. 
Gray Woodland 6 
The Silent Hulls Al 
DAVIES, Arruur Bb. . 
Autumn Gold A | 
Fringe of the Park eal 
Cherished Solitude 64 


Mirrored Dreaming 70 


DEWEY, Cuaries Metvit1e, N.A. 
The Coppice 


Kvening 


DEWING, Tuomas W., N.A. 
Lady Seated : 
Folding Screen: Two Panels with Figures 
The Song 


DICKINSON, PReEston 
Landscape 


HASSAM, Cuitpe, N.A. 
Sunset and New Moon: Isles of Shoals 
The Rigger’s Shop: Provincetown 
Winter and Seckle Pears 
The New Model 
The October Ledges: Old Lyme 


Spring in California at “Pastoris” under One 
of the Foothills of Mt. Tamalpais: 1912 


The Isles of Shoals: Mosaic 
HOMER, Winstow, N.A. 


Fishermen on Shore 
New England Country School 


HUNT, Witiiam Morris 
Old Mexico 
Head of a Girl 


INNESS, Georcet, N.A. 
A Spring Shower 
Etretat: Normandy 
Harvest: Montclair 
In the Valley 
Sunset 


CATALOGUE 


NUMBER 


9 
40 


KUEHNE, Max 
Rockport Harbor 
Hillside: Granada 
Granada 
Moonlight: Segovia 
View of Granada from the Alhambra 


LA FARGEHE, Jown, N.A. 
Prayer 


LIE, Jonas, A.N.A. 
Harbor in Winter 


LUKS, Grorce 
The Widow McGee 


MARIN, Joun 
The Ocean: Maine 
Rocks and Sea Motion: Maine 


MURPHY, J. Francis, N.A. 
Autumn Afternoon 


PRENDERGAST, Maurice B. 
Bass Rocks 


ROBINSON, THeEoporE, S.A4.A. 
A Normandy Pastoral 
Girl in Hammock 


RYDER, Avsert Pinxuam, N.A. 
Off the Coast of Maine 


SARTAIN, Wi.uraM, A.N.A. 
An Arab School in Algeria 


CATALOGUE 
NUMBER 


3 
17 
22 
34: 
36 


433 


59 


Orv bb 
te) 


ee) 


“I 


Or 


31 


60 


26 


SHILLING, ALEXANDER 
Evening: Mists Rising 
Field in Autumn 


THAYER, Apporr H., N.A. 
Head 3 


TRYON, Dwicut W., N.A. 
~ Farm Yard 
Springtime 
Haying Time 
Autumn Afternoon: After a Storm 


TWACHTMAN, Joun H. 
Green Hillside 
Landscape in Holland 


WALKER, Horatio, N.A. 
A. Dewy Morning 
Still Life: Wild Ducks 
A Barnyard Corner 
Milk Woman of l’Lle d’Orléans 
First Snow: Shepherd and Sheep 


WEIR, J. ALDEN, P.N.A. 
A French Homestead 


WINTER, CuHartes A. 
The Persian Maid 


WYANT, A. H., N.A. 
Sheep Pasture 
Across the Hill 
The Lake 


OMPOSITION, PRESSWORK 
AND BINDING BY 


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